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The Magnificent Seven

Rarely have so many charismatic actors been used in a film that feels quite as soulless as Antoine Fuqua’s update of The Magnificent Seven.

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The Age of Shadows

At 140 minutes, Kim sometimes loses the rhythm of his spy thriller, but he's such a confident filmmaker—and his leading man such a magnetic presence—that…

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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Thumbnails 7/13/2013

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"The Age of Innocence" revisited; why mosquitoes bite some people and not others; film critic decides not to see "Ender's Game" because he doesn't want his money going to a homophobe; Los Angeles County beefs up arts grants; 25 funniest autocorrects of the year (so far?); map of quiet spots in NYC; full trailer for Japanese remake of "Unforgiven."

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In a heartbeat: "28 Days Later" revisited

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"28 Days Later" might be one of my favorite films. It's not as politically or satirically ambitious as George Romero's zombie pictures, but as a visionary piece of pure cinema—a film that, to paraphrase Roger, is more about how it's about things than what it's about—I think it's unbeatable. A classic.

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Susan Seidelman, Survivor

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Susan Seidelman has been making films for over 30 years. Her work includes "Desperately Seeking Susan," the pilot for "Sex and the City," and her new sports comedy "The Hot Flashes." Her story is the story of women in Hollywood: a study in creativity, courage and strength. A profile by RogerEbert.com's Christy Lemire.

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"The ultimate liberation": "Shoah" on Blu-ray reminds us of why it is essential cinema

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Patrick Z. McGavin writes about "Shoah," which was just issued on Blu-ray by Criterion in a thorough package that makes the film's unique storytelling more transparent to the layperson. "Lanzmann has said the form and construction is the key to understanding his film," McGavin writes, "and with this new version, that process has never been more intuitive."

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thumbnails 7/10/2013

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How not to react to a deaf person; the fate of libraries in an era of budget cuts and e-books; the best paragraph of The Great Gatsby; un-Google-able band names, and why some bands choose them; interview with Hannibal composer Brian Reitzell; the tyranny of the "money shot" in trailers, and now movies;

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Nat Faxon and Jim Rash talk about "The Way, Way Back"

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Nat Faxon and Jim Rash, who won a screenwriting Oscar for "The Descendants" talk about "The Way, Way Back," which they wrote, produced, directed, and appear in as actors. They talk about casting Steve Carell as a bad guy, what acting has taught them about directing, using Spotify to pick the songs for the movie, and the very important task they forgot on the first day.

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